Infected Mushroom interviewed by Christine Leonard

Hybrid strains

Infected Mushroom cultivates its dark atmosphere

Crawling with the fungus ~ DuvDev (l) and I.Zen have already spawned a global dance fever.

Haifa-bred electro-psych-rock phenomenon Infected Mushroom is usually the closely guarded brainchild of DJs Erez Eisen (a.k.a. I.Zen) and Amit Duvdevani (a.k.a. Duvdev), but the duo’s latest project, Legend of the Black Shawarma, is all about collaboration. After a decade spent thrilling crowds with releases from its groundbreaking and dancefloor-shaking 1999 debut The Gathering through to 2007’s Vicious Delicious, the jet-set turntablists have settled in L.A. where they continue to devise the evolution of their celebrated Goa beach-party vibes.

“Usually we are very closed to advice,” says Duvdev of Infected Mushroom’s standing policy on recording sessions. “But this time around, we were fortunate enough to work with Paul Oakenfold. His experience in giving direction as an executive producer made for a great collaboration. We really respected what each other had to say and he was extremely helpful, as were all of the people we brought in on this record.”

Taking their unique Tel-Aviv trance sound to the next level, I.Zen and Duvdev have added elements of North American heavy metal and punk rock to create their genre-bending September release, Legend of the Black Shawarma. Augmenting the exotic Arabian-Nights-on-mind-altering-substances soundtrack with darker rhythmic elements, the pair devised the shocker “Smashing the Opponent” with the aid of Korn’s Jonathan Davis on vocals; meanwhile, Perry Farrell stepped to the mic to deliver a chillingly excellent vocal performance on “Killing Time.”

“The whole concept was to bring those raw heavy metal influences into what we do, and we were just so lucky that artists of such calibre were able to fit us into their busy schedules,” Duvdev says. “Moments like that are so hard to obtain — it’s so amazing to me that Legend came out just as I had imagined it last year when I was listening to all this fantastic hard rock. Every time we make a new album, it comes out closer to what we had intended; the transfer from mind to hand is always getting better. Paul’s Perfecto label was absolutely the right choice for this record. Some people say that we’re perfectionists; that’s because we always want the best sound possible.”

Renowned for their innate ability to herd throbbing hoards of revellers with a well-timed flick of the wrist, these globe-trotting playboys are more famous for being individual DJs than they are for being a band — a current DJmag poll of the world’s Top 100 DJs lists I.Zen and Duvdev at No. 9 overall. High praise indeed for accomplished violinist Amit and pianist-guitarist Erez, who spent the past five years building Infected Mushroom into a full-fledged live music act. American guitarist Tom Cunningham and Brazilian drummer Rogério Jardim add flavour and flare to the group’s expanding multi-ethnic mix. Melding psychedelic-electronica and classical Middle-Eastern melodies with hypnotic results, Infected Mushroom’s live shows explode with vivid bursts of instrumentation, all overlaid by Duvdev’s rich and emotive vocals. Hitting the stage about 120 times a year, the ensemble has spent 2009 stirring the pot at Coachella, the Virgin Festival, OMIX, Brazil’s Ipanema Beach and Melbourne, Australia’s Metro Club, not to mention the massive Ultra Music Festival in Miami, which attracted some 100,000 attendees.

“Our working formula is to first try our studio tracks out on a live audience before we commit to them,” Duvdev explains. “Sometimes things you’re convinced will be a surefire hit will fall flat in the clubs. You never know what’s going to excite the people. To tell you the truth, I got bored of the whole DJ thing and really backed away from it over the past two years. Now that I’ve had a chance to play my own music, I feel like I’m ready to enjoy just DJing again. I love to share both the music I’ve created and the music I’ve discovered. We believe in evolving our tastes, in keeping pace with our audience; we’re excited about what the future holds.”

Infected Mushroom with DJs Dom G, Yanko & Meitro at Whiskey, Sunday, December 20.

by Christine Leonard

Originally published in FFWD Magazine December 17, 2009 

REVEREND RON REMEMBERED

Reverend Ron Tribute

In memory of CJSW DJ and Bluesman Reverend Ron a loving tribute in the words of his friends

Calgary lost a great friend on November 12, 2009 with the passing of one of its most unique and dynamic philanthropists Ron Predika, aka the Reverend Ron, host of CJSW’s Blues Witness. Ron’s family and friends remember the venerable “mojo navigator” as a colourful character who loved music almost as much as he loved the people around him. His passion for the blues never wavered, from the early days of Calgary’s King Eddy scene, when Ron interviewed every blues musician that came through town, to his recent years spinning the best of the his preferred genre every Wednesday night at CJSW radio.

Needless to say, Rev. Ron’s loved ones and listeners were immeasurably stunned and saddened by this loss. A CBMA Blues Hall of Fame inductee, Ron was a veritable walking encyclopaedia of knowledge, yet he didn’t much dwell on quoting dates and credentials. His informal yet apt obituary described him thusly: a sculptor, comedian, master-craftsman, musician, intellectual, music lover and radio-host, arm-chair historian, bee-keeper, guerrilla gardener, instrument builder, teacher, street-artist, activist, gentle provider to animals, companion, father, but mostly a friend.

Kaitlyn Hatch – Former host Queertopia
“My favourite thing about Ron was his brilliant way with words. The animated way he would exuberantly wave his arms combined with such a blunt and creative description cracked me up. The last time we saw each other was under the beautiful summer sun whilst enjoying music at the Calgary Folk Fest. He had a vigorous hug for me, along with a pat on the back. Truly, he is a fantastic example of how life should be lived and loved fully.”

Taryn Montgomery – Host of Good Character Requirement
“He just couldn't understand how anyone could possibly turn down a good time (particularly one involving "free" booze). I realized that (it) was not the place for me if the people there could not appreciate the awesomeness that was Rev. Ron.”

Peter Maitland – Host of Bikeshevics
“On one of my early dates with my now wife, Marissa, I brought her in to see me in action on the radio. That evening she was wearing a dress and at one point Rev. Ron comes in, looks at her and before even introducing himself says, ‘Boy, those are some hot legs!’”

Christine Leonard – Host of The Nocturntable
“I remember a particularly detailed story he once told me about how mice had eaten out the innards of his favourite handheld Shop-Vac; a trifling matter, except to Ron, the carpenter, who had undoubtedly used it to suck up mountains of sawdust over the decades. To me hearing songs like ‘Ten Toes Up’ on Blues Witness was evidence of Ron’s love of life, marijuana and women, and as for the latter – his hugs certainly made me feel like a real one.”

Greg Chernoff – Host of Airport Bison Radio
“One night, while working a construction job, I was taking a break in the van and I turned on the radio. I had recently discovered CJSW and was feeling my way through the schedule, but had never hit a Wednesday evening before. I tuned to 90.9 in the middle of a Lightnin' Hopkins song, and the honesty and sadness of the tune fit perfectly with my mood. Ron showed me what radio could be, and gave me the courage to speak openly, loudly, and frequently for things that I believe in.”

Laura Glick
“So many good stories but the one I love best is when my show was after his, he would sign off by saying, ‘And now Laura will ruin your night with punk rock.’”

Milan Sveda
“My favourite anecdote as told by Ron about four years ago: ‘Talk about equality of sexes – oh yeah – I tell you. If a guy is getting undressed with window blinds open and a woman walks by, the guy can get himself arrested for being an exhibitionist. And if a woman is getting undressed with window blinds open and a guy walks by, he can be arrested for being a Peeping Tom.’”

Bob Ferris aka Bobby Tubular
“We got to talkin' about Steve Earle and I told Ron what a good song writer I thought he was. He looked at me in disgust and sternly stated... ‘I don't give two shits about the songs he writes... I just like him 'cause he likes to RAWK.’ You will be missed Double R...”

Leah McCartney – Host of Tombstone After Dark
“As a nineteen year old, I was incredibly intimidated by the loud, vivacious, incredibly opinionated guy who sat in on my show after his own, fuelled by his stop at the campus pub (the Den) in between programs. Over the years, the Rev would frequently call me up on air and say, ‘It's all about the groove, Leah! It's all about the groove!’"

Adam Kamis – Host of Failed Pilot
“After a few goes at having an on-air sparring partner and coming off clunky in my efforts, The Reverend left another great CD-R for me in my mailbox and with it a note illuminating me on the finer points of conducting a decent interview. Always mindful of other people's feelings, he concluded his most stirring note by saying ‘...but then again this is coming from an old drunk.’”

Kerry Clarke – Host of Alternative to What
“Two quotes from Rev. Ron: ‘You people know how I hate Kensington.’ And: ‘This show’s the only thing keeping me sane.’ I know there are hundreds of others...”

Chef Wayne – Host of South Louisiana Gumbo
“I remember his was the only show I'd heard that played jug bands, 1920s Delta Blues and the rough rural blues in any quantity. And his way of introducing the next selection with phrases such as ‘building the Tower of Babel one brick at a time,’ ‘they're over in the Amen corner,’ ‘we're gonna get right church and go on home.’ And the way he often referred to himself in the third person as ‘the kid’ and talked about ‘the miry clay.’”

Daryl Leman – Host of Speaking in Tongues/Folkcetera
“I can’t count the number of times we caught up with one another at a local festival or club, usually with him wearing his trademark denim jacket and his long white hair trailing beneath a Greek fisherman’s cap or some other fetching chapeau, and his side stage dance moves were semi-legendary. Ron would often call up during my own CJSW show to ask me about something I had just played or to make some other comment, evidently just to let you know he was out there listening AND that he was paying full attention. As soon as his booming voice announced itself, I couldn’t help but brighten up. His everyday presence and his annual inspirational sermons at the meetings that immediately preceded CJSW Funding Drives will be sorely missed.”

Bob Keelaghan – Agnostic Mountain Gospel Choir
“’Don’t ask me how I’m doing; ask me what I’m doing. That way, you’ll get the truth.’ – Rev. Ron”

Compiled by Christine Leonard-Cripps

Originally published in Beat Route Magazine.

FORBIDDEN DIMENSION: From one ghoul to another

Horror-rockers Forbidden Dimension on the ghastly career of The Misfits

by Christine Leonard

Misfits with Forbidden Dimension & 40 Gun Flagship at Whiskey Sunday, November 8, 2009

October has come and gone, but the creepy vibes carry on as local yokel spook rockers Forbidden Dimension once again prepare to regale Calgarians with another dose of their nigh-legendary horror-rock stylings. Vocalist, guitarist and organist Jackson Phibes (a.k.a. Aleister Hexxx), bassist and Cthulhu-prophet H.P. Lovesauce and percussionist P.T. Bonham have been, in their own words, “stinking up the joint with damn monster-mash crap” for over 21 years. Recently, Phibes was lulled into a moment of nostalgic reverie when Forbidden Dimension was approached to open for his former teen idols, The Misfits, at their forthcoming Calgary appearance.

“I was totally intrigued by them,” Phibes says of his youthful infatuation with the horror-punks. “Apart from an English band called the Screaming Dead, they were only punk band I was aware of at the time [1982] that dealt exclusively with horror subject matter in their lyrics and image. Other bands had elements of it, but these guys were full-on horror punk. The music matched the image and was very dark and powerful, yet was also catchy and melodic.”

With three critically acclaimed (if hard to locate) full-length CDs to its credit on the now defunct Cargo Records, along with a handful of blood-drenched singles on various small labels, Forbidden Dimension’s latest release, A Cool Sound Outta Hell, emerged as a two-sided terror on the Saved by Vinyl label in 2007. Loyal and new-found fans alike were delighted with humour-imbued tracks like “Hatchet Fight in a Mannequin Factory” and “The Night Has a Thousand Tongues,” proving that the long-running garage-bound trio still has the grim task of entertaining the masses laid out before them in perpetuity. Comparing themselves to The Misfits might be a leap, but Phibes certainly identifies with the band’s unconventional creative proclivities.

“I looked at the photos on the record’s inner sleeve and I tried to figure out who the heck these lunatics were,” he recalls. “They looked like a really tough gang of outer space greaser guys. There were also lots of legends and rumours circulating, such as that they’d issued death threats to Jello Biafra, that they smashed up their guitars after every single song, actually robbed graves, beat up half the audience, etc. Great stuff that totally built up their mystique and got the teenage imagination going! Later on when I got more into stuff like the Cramps and Screamin’ Jay Hawkins, I realized that I needed a slightly more humourous bent to my horror-rock role models.”

Since those teenage years, Forbidden Dimension has become a staple of the Calgary bar-scene, surviving long past its prescribed expiry date and transcending the usual revolving door of local pub acts. Ensuring the survival of its goth-trash genre for future generations to learn from and enjoy is all part of the plan, but what does Phibes really think when he sees a typically sullen 14-year-old at the bus stop wearing a newly minted Misfits hoodie?

“I’m cooler than your parents, ’cuz I was listening to those guys back when your parents were listening to Journey.”

ONLINE BONUS: Just for fun, we decided to give you Christine Leonard's complete conversation with Forbidden Dimension's Jackson Phibes about The Misfits, homoerotic metal frontmen and potentially embarrasing tattoos. Enjoy!

Who are Forbidden Dimension?

Local yokel spook rockers: Jackson Phibes, H.P. Lovesauce and P.T. Bonham. Stinking up the joint with “damn monster-mash crap” for over 21 years.

How did it come about that Forbidden Dimension was requested to open for the Misfits during its Calgary appearance?

The Union, the promoters of the show, picked up the phone and asked us. Nothing super cryptic.

Were you influenced by the Misfits during your formative years as a young musician? If so, what did they mean to you?

I was totally intrigued by them. Apart from an English band called the Screaming Dead, they were the only punk band I was aware of at the time (1982) that dealt exclusively with horror subject matter in their lyrics/image. Other bands had elements of it (Damned/Cramps/T.S.O.L., etc. in the punk camp, Maiden, BÖC, KISS, etc. in the metal camp) but these guys were full-on horror punk. The music matched the image and was very dark and powerful, yet was also catchy and melodic. At the time, they were very much an exclusively underground punk band. Apart from the Walk Among Us LP, it was really difficult to get your hands on any of their other recordings. Unless you knew somebody who had a (usually fifth generation) cassette of their early singles, you were out of luck.

I was also a fan of Danzig’s next band, Samhain, who weren’t quite as catchy, nor as B-movie oriented, but still had some cool tunes and gory band photos.

As for the Misfits themselves, I looked at the photos on the record’s inner sleeve and I tried to figure out who the heck these lunatics were. They looked like a really tough gang of outer space greaser guys. There were also lots of legends and rumours circulating, such as that they’d issued death threats to Jello Biafra, that they smashed up their guitars after every single song, actually robbed graves, beat up half the audience, etc. Great stuff that totally built up their mystique and got the teenage imagination going! Later on when I got more into stuff like the Cramps and Screamin’ Jay Hawkins, I realized that I needed a slightly more humourous bent to my horror-rock role models.

Obviously, the Misfits have gone through some changes over the years — can you briefly compare the “Danzig Era” to their current incarnation?

Like I said, the Danzig era was a way more underground cult kind of thing. It wasn’t until years after the band ended that mainstream fans picked up on them (I’m guessing mostly thanks to Metallica). I did enjoy seeing the Jerry Only-led shows when they’d come to town, though. Also, I met Jerry at a Chiller Con in New Jersey back in the ’90s and he seemed like a really nice guy.

Overall, what do you consider to be their strongest release?

I loved the Misfits Walk Among Us album to death as a youth, hands down. However, in hindsight I’d have to say the 3 Hits From Hell EP ended up getting the most spins over the years.

Their worst album?

Evilive! I still enjoyed it immensely at the time, though. I was a sucker for punishment!

Best cover art?

I did spend hours staring at that creepy Earth AD drawing… although, the newer era has those great Basil Gogos paintings adorning the sleeves (he was one of the big Famous Monsters of Filmland cover artists).

Do you think their recipe for longevity is a viable one? Does their endurance as a band/brand give you any insights into how you might like to spend the rest of your musical career?

I think Jerry’s doing it because it’s fun, so good on him. It’s the only reason I’d be doing it!

The group Danzig is often pointed to as an example of homoeroticism deliberately aimed at a straight male audience. What is your appraisal of the whole leather-vest-over-a-well-oiled-chest thing?

I think from an outsider view, all metal posturing has that appearance — and rap too, look at them snaps of Tupac’s glistening, tattooed torso. From a young headbanger male’s standpoint, it has entirely to do with hero worship and role model fantasy. I seriously think you’d be hard-pressed to find any hetero youths lured into spilling their precious seed over snaps of Glenn and the boys. That’s what Taylor St. Clair is for.

Do you think Rollins regrets his Misfits tattoos as much as I regret these four black bars on my bicep?

He probably thinks they’re funny and give him even more old school cred, and that’s what you should think about your bars. As a side note, there are more old Black Flags in the current Misfits lineup than there are old Misfits (although to be fair, Robo did play on Earth AD, so guess it’s about even)….

What’s the first thing that pops into your head when you see a 14-year-old wearing a Misfits hoodie?

I’m cooler than your parents, ’cuz I was listening to those guys back when your parents were listening to Journey.

LEONARD COHEN vs. TICKETMONSTER -- an article by Christine Leonard-Cripps

Everybody knows that the dice are loaded

The unquiet case of Leonard Cohen vs. Ticketmonster

 

This past November, performers with the city’s famous One Yellow Rabbit Performance Theatre regaled Calgarians with their spirited performance of Doing Leonard Cohen – an evening of poetry and music that traversed the Canadian artist’s dynamic oeuvre using equal doses of passion and humour.

While this dynamic homage to one of our nation’s most noteworthy authors temporarily satisfied fans with tributes to Leonard’s lyrics and prose, it only whet their appetites for more of the real deal. When it was announced that the elder statesman would be performing a series of concert dates across Canada, many leapt at the chance to take in a rare live show.

Unfortunately, for dedicated Cohenites, their anticipation turned immediately to disappointment as Leonard’s upcoming shows appeared to sell out within minutes of going on sale to the public on March 2, leaving many fans empty handed and disillusioned. Worse yet, second-hand tickets appeared for sale at outrageously inflated prices on other websites within mere hours. The same story unfolded across the country at GM Place in Vancouver, Rexall Place in Edmonton and at Ottawa’s National Arts Centre, where 4,600 tickets for Cohen’s two May concerts were snapped up through Ticketmaster and the house’s box office in a half hour. Shortly thereafter, the same tickets began popping up on TicketsNow.ca, Ticketmaster’s own resale website, the asking price inflated from the original $60-$250 range to a whopping $300 to $1,600 for a single seat.

Those looking to see Leonard at Calgary’s prestigious Jack Singer Concert Hall show (the Killers had already booked the Saddledome for that night) met a similar fate. Terry Rahbek-Nielson, a long-time admirer of Mr. Cohen, went so far as to express her displeasure directly to the tour’s manager Robert Kory.

“When it came to booking a spot in Calgary, the LC camp ran into a challenge,” explains Rahbek-Nielsen. “The venue they wanted was already booked and they decided that, rather than skipping Calgary altogether, they'd book the Jack Singer. It's a great venue for those who (can afford) the tickets.
“I think the LC camp is handling this with integrity and fairness. They seem to be doing all they can to level the playing field for concert goers. The ‘no comps for the crew and friends’ policy is quite a big deal. I think the no comp policy for the Calgary show is a result both of playing such a (comparatively) small venue and the high demand for tickets. The word is out in roadie land that there are no comps. That's unusual and I like it.”

Even with the possibility of vying one’s way onto the guest list out of the picture, some of those seeking tickets were still able to gain access to Leonard Cohen tickets via a handy side door known as ‘the official fan club.’ This was the route chosen by savvy customer Jeremy Hart who nabbed one of the coveted seats for the show.

“I was fortunate in that my sister is a long time member of the LC fan club. She turned me on to LeonardCohenForum.com and, in addition to some excellent topic discussions, there was to be a fan club presale (one day only on February 25),” says Hart. “The night before the presale, the password was changed, presumably to throw off some of those who were registering with the forum to get the password and post it online for everybody. On presale day, I had decided to purchase one ticket at the lowest price level (for $123), which I managed to do without any trouble. Within an hour, the presale tickets were all gone.”

For those with deeper pockets, VIP tickets to the Jack Singer event were listed on sale at the same time as the presale. Consuming what Hart estimates to be least the first ten rows of each venue, available real estate in these choice spots came in at a base price of $549 each.

“I went online at exactly 10:00 a.m. when the general sale started to see what was available,” continues Hart. “I asked for one ticket at any price level and it couldn't find anything for me. I tried a few more times in the next 20 minutes to no avail. When I asked at the Ticketmaster outlet (at the University of Calgary location) after the fact, they said they managed to get tickets for the first two or three people in line. The others left disappointed and angry.”

Earlier this year, following an outcry from Bruce Springsteen fans who were similarly jilted in New Jersey, Ticketmaster agreed to pay the state $350,000 and significantly modify their methods of operation in the US. Now, Ontario’s Attorney General Chris Bentley is involved and there’s an ongoing investigation of the way in which the company does business in Canada. This comes after at least two class-action lawsuits were filed against Ticketmaster in Canada. Specific issues of contention are the company’s whopping service charges and monopolistic ownership of TicketsNow. The plot thickens as Ticketmaster is poised to absorb yet another piece of the market in the form of a merger with the world’s biggest concert producer Live Nation Inc., who move an estimated 45 million tickets a year. They’re also the guys who just sold out U2’s next tour in 60 seconds.

With this many shows going on, it is apparent that Leonard Cohen's rapid sell-out wasn't all that out of the ordinary for Ticketmaster. Calgarians hoping to catch a glimpse of acts like Iron Maiden and Metallica had to strike like lightening and, even then, scores were left out in the rain. Hardcore music acolyte Chad Naclia was one of the lucky few who managed to get in, but as with many concert-goers, the experience left him somewhat jaded.

“My last few experiences with ‘The Man’ were pretty typical of what many people have been experiencing,” confirms Naclia. “For both shows involving the Sword last December – I think Metallica and Lamb of God played as well – I jumped online at 10:00 a.m. on the button to grab my ridiculously overpriced tickets. I tried to grab two tickets within ten to 20 seconds when the sale opened for the floor and I received a message along the lines of ‘there are no tickets available for your request.’ But I was conveniently directed to a related website that had many tickets available. They even had floor tickets. I know people who purchased tickets that way for about $400 a piece.”

The intricacies of sanctified scalping and dirty double-dealing aside, how does the process of buying and selling tickets reflect upon the artist? Well, according to each of our interviewees, they see the problem as having to do with the system not the musicians it represents. Legal action may eventually resolve some of the issues surrounding Ticketmaster and TicketsNow, but until that time audiences will have to continue to que up in the hope of being given the opportunity to pay through the nose.

“Who doesn't like Leonard Cohen? He's a wonderful talent and a great representative of Canada. Leonard Cohen has gifted the world with so much beauty... he deserves every accolade and every bit of good fortune he receives because of it. My annoyance with the whole business is with Ticketmaster,” reiterates Terry Rahbek-Nielsen. “I tried to get tickets online, and in person. The original tickets were gone before I could blink twice and the overpriced resale ticket are a complete scam. So, we will go to (see him in) Edmonton.”

Jeremy Hart agrees that some shows merit a higher ticket price, but wonders about the lack of restrictions placed on Ticketmaster and their lion’s share of the gig market. He also points to ‘cratering’ record sales as part of the impetuous behind elevated ticket prices.

“The acts and promoters know that most of their album's plays are generating no income for them, so they're looking to recoup that money on the road. For me, it was worth the expense. First, my ticket is probably the best I could get for my price range. Second, there is a very good chance that Mr. Cohen will not be doing this again as he is in his 70s. Third, in terms of Mr. Cohen's western road swing, Calgary is the anomaly,” Hart explains. “The problem is allowing Ticketmaster to own a company that operates in the secondary ticket market. This seems a direct conflict of interest to me and is, at best, legally dubious. If I'm not allowed to sell a ticket for more than its face value, why does Ticketmaster or TicketsNow get to? Hell, bring back BASS Tickets. At the very least, give the venues the ability and reasonable means to sell the shows independently.”

Chad Naclia agrees. His prescribed remedy is a home-grown option.
“Just as smaller venues in the city – Broken City, HiFi, the Distillery, the Stetson – release their own tickets, therefore keeping the money within the venue and the community, all venues, including places like the Saddledome, should be in charge of managing their own ticket distribution.
“It's not rocket science and it's as simple as that.”


Originally published in Beat Route Magazine by Christine Leonard

Mastadon weave the Old Magic

Mammoth metal

Mastodon mix Russian mysticism and elemental magic on Crack the Skye

April 24, 2009 by Christine Leonard

Drawing inspiration from history, classic literature and bad-ass riffs, Mastodon are a metal force to be reckoned with

Atlanta’s Mastodon has a gargantuan reputation to live up to. Over the course of their last three albums, they’ve scaled the mountains of madness, battled Cysquatches and slain Moby Dick. The sludgy prog-rock giants then turned heads when they took part in the Unholy Alliance Tour, conquering North America with the legendary Slayer.

The band has even done some soundtrack work. Avid fans of the cartoon series Aqua Teen Hunger Force, Mastodon let loose on the thrash-worthy “Cut You Up With a Linoleum Knife” in the opening to Aqua Teen Hunger Force Colon Movie Film for Theatres. Pursuing such extraordinary artistic avenues continues to be a passion for founding member Bill Kelliher, who equates Mastodon’s increasingly accessible sound to their development as a musical entity.

“We kind of got trapped into a four-album cycle,” Kelliher admits, laughing. “Maybe trapped isn’t the right word — it sort of evolved unintentionally. We later realized that our first full-length, Remission, had lots of fire-oriented tracks on it, like ‘March of the Fire Ants,’ ‘Trainwreck’ and ‘Burning Man.’ We were a pretty fiery band back then, fighting to make a record while working regular jobs. With Leviathan we had the whole aquatic theme. Brann had spent a long plane ride from Hawaii reading Moby Dick and was inspired to explore its themes…. By the time we got to the concepts around the ‘earth’ album, Blood Mountain, our music had a really strong storytelling feel running through it.”

Continuing their mythic journey, the foursome (Kelliher, drummer Brann Dailor, guitarist Brent Hinds and bassist Troy Sanders, who all contribute vocals) have struck elemental gold with their latest offering on Relapse Records. Recorded by the unlikely duo of Bruce Springsteen producer Brendan O’Brien and Scott Kelly of Neurosis, Crack the Skye mingles disparate themes ranging from Russian history to astral projection. Unfurling like something out of one of George R. R. Martin’s epic fantasy novels, Crack the Skye’s fantastical plot was conceived and fleshed-out by the Georgia quartet’s drummer, who lost a sister named Skye at a young age. The perfect complement to a larger-than-life sound typified by leaden bass drones, crashing percussion and intricate guitar runs, Brann’s tale revolves around a paraplegic child who travels to outer space, where he encounters the spirit of Russian mystic Grigori Rasputin.

“This time out, we knew we wanted to work with the element of air,” says Kelliher. “We looked at space, wind, time travel, ghosts that fly around in the atmosphere and all the things that tie us to the spiritual realm. There’s a lot of conjuring and talking to the dead, but it’s not blatantly obvious. Our lyrics are open to interpretation; we allow our audiences to draw their own parallels and conclusions.”

The one thing everyone can agree on is Mastodon’s signature cover art, which has been consistently stunning. “From Day 1 our artist, Paul [Romano], has really tapped into our music. The art he produces is fed off the tones of the ideas we use. We are so fortunate to have so many songs and riffs inside us and countless ideas and energies to draw from — it’s a big well of talent.”

Despite the bizarre nature of their artistic leanings, Mastodon’s popularity has exceeded the realms of heavy metal and overflowed into the mainstream. Racking up fans and royalties at a brisk rate, the lumbering behemoth has sunk its tusks into other markets. In addition to licensing songs to two commercials for the U.S. army (let’s not dwell on those), they’ve embraced the video game market, selling tunes like “Sleeping Giant,” “Blood and Thunder” and “Colony of Birchmen” to the Guitar Hero and Rock Band series.

“I understand the attraction to gaming,” Kelliher confirms. “Just like listening to music, emulating playing an instrument lets you go into a fantasy world. I don’t play video games that much — I’m 38 years old and I’m living the fantasy!”

Mastodon performs with Intronaut & Kylesa MacEwan Ballroom  

Degrassi DJs at the Head of the Class

Zit Remedy 2.0

Degrassi vets tour behind their turntables

Published March 19, 2009 by Christine Leonard

Amanda Stepto played Spike in Degrassi Junior High. Now she's a DJ!?

Spike and Caitlyn from nigh-legendary Canadian TV series Degrassi Junior High are once again making waves, this time as record-spinning divas. Known in their civilian lives as Amanda Stepto and Stacie Mistysyn, the two actresses cut their DJ teeth a year ago when they started appearing at In Between Days, a monthly ’80s-themed night at The Annex Wreckroom in Toronto. Under the tutelage of the club’s veteran scratch-master Shawn MacDonald, DJs Demanda (Stepto) and Mistycious (Mistysyn) have honed their skills at the turntables and cultivated a passion for sharing their enduring affection for the songs that made up the soundtrack of their youth, even if there’s still a certain amount of on-the-job learning.

“I think when some people see the poster for our DJ nights they don’t realize that Stacie and I are actually using the equipment,” says Stepto. “I mean, it’s not exactly what we’re known for. The technical aspect of the DJ booth is definitely not my forte. The “real DJs” we perform with take it all in stride when something goes wrong, but when I screw up, I practically have a panic attack! Sometimes I get really nervous about performing for a live crowd. When you pick out a set, it kind of tells a little story about you. If people don’t like your songs, it’s kind of like they’re saying they don’t like you.”

Once she’s gotten over those initial butterflies, though, Stepto relishes the opportunity to connect with her audience. Schmoozing with fans in between their 30-minute sets, the ’80s queens hold court as they rotate their MC duties with the more experienced DJ Shawn and special guest Djorge. Balancing the need to keep things moving on the dance floor while catering to the expectations of a public that adores them for their TV roles, Stepto acknowledges that the duo’s musical tastes are often set aside. Still, you’ll be relieved to hear that the rebel icon still remains true to her punk rock roots — according to Stepto, her record collection contains the same music she has always identified with.

“If I played a set of just my kind of music, I would probably clear the dance floor,” she chuckles. “Personally, I still listen to all the bands I’ve always loved: Sick of it All, NOFX, Social Distortion. I still have all my old cassettes. I like to keep everything.”

“I try to tailor my set to fit the setting and mood of the evening,” she continues. “In the winter, I might play more Goth-y stuff like Sisters of Mercy and The Cure, but when it’s the college crowd, you know they’ll want to hear Poison. We get so many requests when we’re DJing that we can hardly keep up. It’s funny, because some people get downright belligerent when you don’t play their song. I’ve come to realize you can’t please everyone. It’s like, we’ve got 300 requests and only three hours to play them in. You do the math!”

Tripping the light fantastic and whisking their audience back to a happier place in time, DJs Spike and Caitlyn make it OK to like Martha and the Muffins again, even if it is just for one evening. Proving that they’re indeed more than one-trick ponies cashing in on a nostalgic trend, Stepto and Mistysyn are also currently labouring to launch their own TV comedy show called OverXposed. Until it airs, if you’re looking for an instant dose of nostalgia, you can always enjoy old episodes of the original Degrassi Junior High on DVD.

Degrassi Jr. High Spring Fling with DJ sets by In Between Days (Spike & Caitlin) and DJ Big Daddy Deyotte at Broken City March 21, 2009

CRADLE OF FILTH - An interview with Paul Allender by Christine Leonard-Cripps

The hand that rocks the cradle rules the world

England’s biggest metal band likes it filthy

 Cradle of Filth  on tour with Satyricon & Septic Flesh

There’s a certain morbid allure to Cradle of Filth that no self-respecting 17-year-old metal fan can resist. The dual pleasures of simultaneously pissing off one’s parental units whilst basking in the funerary glory of the band’s gothic symphonies is a two-headed demon of mythic proportions, to be sure. Embracing the innocence of youth along with the trappings of liturgical symbolism older than history itself, Cradle of Filth evolved out of the primordial sludge that festered around their hometown of Suffolk, England in the early ’90s. Audiences were lured in by the band’s acute sense of timing, sophisticated melodies and forthright heavy metal sound, all overwritten by singer Dani Filth’s signature howls. Sharing a so-called singing Suffolk accent — marked by a wide pitch range and a high-rising intonation at the end of sentences — lead guitarist and veteran member Paul Allender speaks in a notably broad Midland rhythm that is perfect for a metal-head, right down to the Spinal Tap drawl. Although, what he says isn’t always all that metal.

“I have the notorious reputation for being able to sleep through anything,” says Allender. “That tends to be how I cope with things when we’re on the road. Everybody is off snowboarding, and I’m stuck on the bus because our insurance won’t cover me getting busted up on the ski slopes. They’re like ‘Those hands? No way!’ So, that means that I don’t get to see as much of the places we perform in as I might like, but to me it’s more important that I’m completely energized when I hit the stage every night. I mean, that’s what it’s really about, isn’t it?”

That drive has led Cradle to produce black metal albums of the highest calibre, despite being haunted by label conflicts (the band has had issues with both Sony and Cacophonous Records), financial ruin, legal woes and a seemingly never-ending war of attrition amongst bandmates. Cementing their status as gods of the heavy metal underworld with legendary releases such as The Principle of Evil Made Flesh, Cruelty and the Beast, Thornography and last year’s Godspeed on Devil’s Thunder, Filth and Allender have ironed out past differences into a battle-hardened friendship.

“The way we see it, it doesn’t matter what the label thinks,” says a defiant Allender. “We’ve always done what we wanted, contracts or no. We’d politely tell our label ‘It’s got fuck all to do with you,’ even when we were on Sony. We run the show ourselves. It’s always been about freedom, and I think that comes across in our music. Working without constraints allows for more flowing. We do it all by feel and without an agenda.”

Other developments have seen the elite metal group incorporate female vocals into their mix — most notably those of their new “satanic advisor,” Sarah Jezebel Deva, who replaced Andrea Meyer after her short run with the band. Content whether performing as a six or seven-piece, Cradle always digs deep to bring their living nightmare to the stage. Gathering their collective sense of creative inspiration from Gothic literature, classical mythology and horror films, the grim collective enjoys adding a dash of the dramatic to their performances — something their audiences have come to appreciate, admire and, in some cases, demand.

“We just did three shows in a row in Mexico where we played to a packed stadium of three-and-a-half thousand people every night,” Allender recalls. “They were singing our songs from the time they were standing in line, and even cheered our road crew through the whole set-up process. The amount of support they showed us was totally unbelievable. They were so appreciative and so into it that they refused to leave after our encore and still stayed around as the stage was dismantled. I think that when it comes to seeing live music, a lot of us are really spoiled for choice, but those kids are just so hungry for it. We’d go anywhere in the world to perform for people who love metal that much.”

by Christine Leonard

Originally published in Fast Forward Magazine January 29, 2009